What the Hell Happened to Mike Myers?

mike myers

Mike Myers

Mike Myers successfully made the transition from Not Ready for Prime Time Player to movie star.  His characters and catch-phrases were inescapable.  Myers wasn’t just a comedian, he was shaping pop culture.  And then, he stopped.

What the hell happened?

Mike Myers – Saturday Night Live – 1989-1995

Myers’ first acting job was on a TV commercial when he was 10 years old.  The commercial co-starred Gilda Radner, who was about to become a star on Saturday Night Live.  In 1989, Myers would follow in Radner’s footsteps as a cast member of SNL.

Myers - King of Kensington

Mike Myers – King of Kensington – 1975

In 1975, a young Myers appeared on the Canadian sitcom, King of Kensington.

Many years later, Myers named the character played by Elizabeth Hurley in Austin Powers “Vanessa Kensington” in tribute to the TV show that gave him his start.

Myers - Little Hobo

Mike Myers – Little Hobo – 1979

In 1979, Myers appeared on another Canadian TV show, The Littlest Hobo.  The show is about a stray German shepherd named London who wanders from town to town helping people in need.  Sort of Lassie meets The Incredible Hulk.  In the episode Myers appeared on, London encourages a child in a wheelchair to participate in a freisbee competition.

To date, no characters have been named after The Littlest Hobo.

In 1982, Myers joined the Canadian touring company for Second City immediately out of high school.  From there, he moved to the United Kingdom.  In 1985,  Myers was one of the founding members of The Comedy Store Players, an improvisational group based in London.

Myers also played a delivery boy in the TV movie, John and Yoko: a Love Story.  Here’s a clip with both of his lines.

In 1986, Myers starred in the British children’s TV program Wide Awake Club.  Myers satirized the show’s typical energy with his own bit, the  “Sound Asleep Club”.

myers - wide awake

Mike Myers – The Wide Awake Club – 1986

Here’s a retrospective about The Wide Awake Club which includes some footage of Myers doing his bit on the show.

Next: Wayne, Dieter and SNL


Posted on October 3, 2012, in Movies, Saturday Night Live, TV, What the Hell Happened?, WTHH Actor and tagged , , , , , , . Bookmark the permalink. 287 Comments.

  1. You see him on the SNL40 thing last night, Lebeau? Was pretty interesting, I thought. I saw about a zillion people on Twitter commenting that they didn’t know about the whole Dr. Evil/Lorne thing. They clearly need to read more WTHH!

    Liked by 1 person

    • Could not agree more. I saw your Tweet last night and thought the Myers-Kanye connection was also interesting.

      By this point, I am fairly certain Myers and Carvey have put whatever beef they had behind them. I don’t know that Carvey was ever all that upset with Myers stealing his impersonation. It’s not like Carvey was doing anything with it. I imagine Carvey would have liked to have been asked or at least given credit after the fact.

      Any time I see Carvey I am just grateful the dude is alive.


      • I wish Myers had made some sort of throwaway reference to the MTV thing. Something like, “It’s okay, I think he likes Obama…” or something. I don’t know. Just a little nod would’ve been fun.

        That special could’ve been great but they completely lost their momentum. Kanye’s performance brought it to a grinding halt. Shame. It was still enjoyable, though.


        • I had to squeeze in The Walking Dead last night for my weekly recap. I ended up fast forwarding through all the musical acts just like I do when I watch the regular show.

          On the whole I really enjoyed it. I thought it was a fitting tribute to 40 years of SNL.


      • Wayne’s World Cast Reunites for 21st anniversary screening:

        WTH is going on with LFB’s face? Is she on steroids or something. Mike Myers looks like a fireplug stuffed into spanx.

        I loved this movie though and still go on YouTube sometimes to see the Bohemian Rhapsody bit.

        When Mike Myer’s was making a film called “I Married an Ax Murderer” he had all the electricity on the set shut down and rerouted so that he could have a cappuccino. The abandoned prison where they were shooting didn’t have enough juice to power everything so everyone had to stand around and wait to get back to work so he could have his coffee.
        reply 6

        [R21], yes Garth was very popular & Lorne Michaels insisted he play a big role in both the SNL sketches and the film, to Myers’ huge annoyance. In the second film, Myers was angry that Garth got a more glamorous love interest (Kim Basinger) then he had. By all accounts, Dana Carvey is very nice but Myers was not well-liked at SNL.
        reply 23

        Mike Meyers became bigger later with Austin Powers (and Dana disappeared due to health issues), but I believe Dana Carvey was more popular during their SNL run and when Wayne’s World came out. Carvey had a number of popular recurring characters on SNL.
        reply 24

        Dana Carvey was definitely a much bigger star on SNL. Not only did he appear in things like Wayne’s World and Church Lady, but he played both George H.W. Bush and Ross Perot. That was the era where SNL really perfected political humor.

        Myers had his own recurring characters outside of Wayne’s World in things like Simon (the little boy in the bathtub) and Sprockets, but neither were as big as Carvey’s other characters.

        p.s. I’ve got a link to the IMDB credits for the guy in the middle of the car in Bohemian Rhapsody.
        Sean Sullivan

        Sean Sullivan, Actor: Back to the Future Part III….
        reply 26

        I thought the Myers-Carvey fallout was more out credit for creating the characters. Wasn’t Myers trying to take sole credit when Carvey actually came up with the original idea for the sketch? I thought there was even a legal settlement.

        And Myers was hugely popular when he left the show. Plus, he appealed more to younger audiences. I loved Carvey on SNL but he was more an old school character impressionist. Not the type to draw tweens to the theater as his limited movie career proved.
        reply 30


        • Penelope Spheeris on Wayne’s World, Dating Extras, and Why She Didn’t Do the Sequel

          Which was more of a boy’s club: the metal scene or TV and movie producers?
          They both didn’t treat women all that well. The metal scene was a little more overt about their transgressions against women, and minorities. But the executives were more subtle about it. Sneaky bastards, what can I tell ya? It’s okay if I insult them these days because none of the people I was working with are still at the studios … I don’t think. So I don’t care anymore, I’ll say whatever. Mama done passed that age. That whole thing with me and Mike [Myers] on Wayne’s World 2 … I was just telling the truth, but then I got into a lot of trouble for griping about not getting hired. I’ve always had kind of an unfiltered voice, as it were.

          So you didn’t turn down Wayne’s World 2?
          No! No, that’s not true. They didn’t want me to do it because I wouldn’t do the cuts that Mike wanted on the first Wayne’s World.

          Can you talk a little about those cuts?
          That whole thing, they don’t want me to talk about it. But Mike didn’t want me to Wayne’s World 2 because I wouldn’t do requested cuts on the first Wayne’s World. I got shit on right there, but that’s cool. Honestly? There were 11 pages of suggested cuts. I don’t know if I’m exaggerating when I saw that the pages were singled-spaced, but there were a lot of notes. It’s not his fault! It’s not his fault, because he wasn’t around when we had the test screening, so he didn’t see what happened with an audience. His dad had passed away, and he was a mess because he loved his dad so much. He went back to Toronto, so when he came back and we kept saying, “Hey, man, it’s perfect,” he kept saying “No, here’s all the things we have to do.” It was just bad timing. If he had been there for that test screening, there wouldn’t have been a problem.

          Can you give an example of how you had to essentially plan the film three ways: your way, Dana’s way, and Mike’s way?
          [Laughs.] See, the great thing about Mike and Dana — and all great comedy teams, really — is that part of the way they get their jokes and energy is by trying to one-up each other. So it got to a point with a lot of comedy teams where these guys downright hated each other. Mike and Dana had their disputes, but really, it had a lot to do with Mike getting an idea, and then Dana feeling compelled to one-up him. Then the other way around. So I had to shoot it my way, then Dana’s way, then Mike’s way, then sometimes the studio’s way. But I knew all along that I would be okay because I had it my way. Sometimes their way worked better, you know? Use whatever works. But when I get in the editing room, there’s nobody saying, “Hey, do it this way.”


      • Why we never got to see Wayne’s World 3

        ‘Wayne’s World 2′ wasn’t much of a hit

        Paramount Pictures, the studio behind Wayne’s World, presumably lost a lot of interest in a third installment after taking a look at the box office receipts for Wayne’s World 2 in 1993. While it certainly has its funny and memorable moments, it didn’t quite capture the magic of the original. Critics thought it was fine, but not as good as the first Wayne’s World—it has a Rotten Tomatoes score of 60 percent, compared to 86 percent for the original. Additionally, it made $47 million at the domestic box office—well under the $121 million of its predecessor. It all added up to a lack of evident demand for Wayne’s World 3, and Hollywood wasn’t going to put up the tens of millions of dollars required to make it happen.

        Mike Myers got too busy

        The late ’90s or early ’00s would’ve been the right time to strike quickly with another Wayne’s World movie, but Mike Myers was simply too busy with other projects. After Wayne’s World 2, Myers regrouped and came up with another over-the-top, irresistible character: Austin Powers, a British spy straight out of a candy-colored ’60s British spy movie. The first movie in the series, Austin Powers: International Man of Mystery, was a modest hit, but built up such a huge home video following that the 1999 sequel Austin Powers: The Spy Who Shagged Me made more than $200 million at the box office; the third movie, 2002’s Austin Powers in Goldmember, did even better. Making those movies, along with voicing the main character in the Shrek series and taking roles in films like 54 and Mystery, Alaska, didn’t leave a lot of time for much else.

        Dana Carvey and Mike Myers weren’t getting along

        The success of Austin Powers can be partially blamed for why there was never a third Wayne’s World movie. The character of Dr. Evil parodied several James Bond villains, particularly the similar-looking Ernst Blofeld of You Only Live Twice. But his clipped speaking voice, distant demeanor, and some physical mannerisms—including extending his pinky finger while talking—are very similar to characteristics exhibited by Myers and Carvey’s old SNL boss, Lorne Michaels. Or, as Carvey has suggested, Dr. Evil’s quirks were taken from Carvey’s around-the-studio impression of Michaels. That, along with some other issues (an early draft of Wayne’s World 2 apparently had very little Garth in it), prevented Myers and Carvey from speaking to each other for years. Happily, they’ve since made up and have appeared at Wayne’s World screenings and on SNL together.

        Dana Carvey had serious medical issues

        Carvey wasn’t physically available to make Wayne’s World 3 when it would’ve most logically entered production, sometime in the mid-to-late-’90s. Nor was he able to do much work at all—he had some major health problems. Experiencing chest pains, Carvey went to a doctor, where it was discovered that blood wasn’t properly flowing to his heart. He underwent an angioplasty, a procedure in which an artery is forced to stay open through the insertion and inflation of a small balloon. In fact, he ultimately had to undergo the procedure three times—the artery kept re-clogging, despite the supposed fix. In 1998, Carvey submitted to the last-ditch effort of a double bypass, and yet the chest pains continued. That’s when tests revealed his surgeon had operated on the wrong artery. Carvey had to get the procedure done on the correct artery (with a different doctor). He’s since made a full recovery; he also sued the original surgeon and settled out of court in 2000.

        Mike Myers doesn’t seem too passionate about it

        Probably the biggest reason why Wayne’s World 3 has never happened is that Mike Myers, who created the character of Wayne pre-SNL, for Canadian television, doesn’t seem to want to do it all that much. In 2008, Myers and Dana Carvey appeared as Wayne and Garth at the MTV Movie Awards, leaving many fans to wonder if a third big-screen outing was in the offing, but Myers said he did it mainly to get “caught up” with his old friend Carvey. Three years later, Carvey hosted Saturday Night Live and brought in Myers for a “Wayne’s World” sketch. 

        That reportedly sparked something in Myers, because in 2012, JoBlo and Entertainment Weekly reported that he’d written a screenplay for Wayne’s World 3. It was set to be a movie about transition and aging, with Wayne and Garth trying to make the move from cable access television to an online streaming show. Soon after that news, however, Myers’ team sent out a notice to refute it all, claiming Myers hadn’t completed a script…nor was he even working on one. 

        Myers and Carvey played Wayne and Garth again for the SNL 40 special in 2015—and once again, it sparked movie rumors that Myers good-naturedly shrugged off. When asked by The Canadian Press if there were more Wayne’s World films in the future, he said he was open to the idea. “It would be an interesting examination of Wayne at 50,” Myers said. “I don’t know what it would look like, but the idea of it makes me laugh and Dana and I had a blast at the 40th anniversary, so I don’t know.”


  2. Re: What’s the real reason?

    He’s crap to work with. Virtually everyone who does refuses to work with him ever again.

    He stole ad-libbed jokes from Dana Carvey on the set of Wayne’s World, and almost shut the production down because he wanted a different Alice Cooper song. Also stormed off the set because he didn’t have the right brand of margarine for his bagel. This was all after demanding that Carvey’s Garth not appear in the film whatsoever. Yes, you read that correctly: He didn’t want to have Garth in the film because he felt people only wanted to see Wayne.

    He pissed off the crew of So I Married An Axe Murderer so much that nobody from that production would ever work with him again. His little demand to rewrite the script himself even resulted in a major plagiarism lawsuit, which Myers lost.

    He also demanded rewrites on the movie “54,” so that only his character was portrayed as the founder of the Studio 54 night club.

    From there, he refused to do Wayne’s World 2 if the original director was brought back, and he sought to have her black-listed in the entertainment industry.

    So badly mistreated Elizabeth Hurley during the filming of Austin Powers that he had to write her out of the second script when she essentially told him he could go F himself. This was during the very peak of her career as well, and all he had to do was not treat her like she was some stupid cow of a prop.

    Sent the script for Austin Powers out to several producers and performers AT ONCE, which is such a massive no-no that I’m shocked he worked after that. He then scheduled them all for one single meeting because he didn’t feel like taking several. The ego that it takes to do that to people like Spielberg, DeNiro, etc. He made enemies of a lot of the Hollywood A-List with that one move alone.

    Finally, after pissing off Michael Caine and the rest of the Goldmember crew with his bizarre and petty demands (He literally demanded that Michael Caine stop delivering his lines in a funny way so that HE could have the bigger laugh lines), he went on to anger the producers of Cat in the Hat with his constant, bizarre demands.

    From there, he made The Love Guru, and refused to listen to any studio notes or the suggestions of his cast and crew. It was obviously a massive turd, and the people who worked on it have all said they won’t work with Myers again.

    So if you want to know where he went, take a look around the interwebs. No shortage of stories about him acting like a complete dickhead to just about everybody in his path.

    And frankly, when the Shrek franchise is finally dead and gone, he’ll be stuck with nothing to do and only himself to blame for it. He’s spent 25-ish years burning every bridge he could.

    Even today, talk show crews trade stories about the time Mike Myers came into their studios and acted like an entitled, arrogant, smug little prick.

    So I’d say he deserves to have lost his career except for one voice gig that only toddlers follow. Guy’s a complete d***hole.


    • Re: What the Hell Happened to Mike Myers?

      I think the article is very opinionated. I think none of the Austin Powers, Wayne’s World, Shrek or Cat in the Hat movies were flops. Ax Murderer could have done more and the same with Love Guru. But the other rules were either supporting roles or out of character type rules like 54.

      I do hear that he is hard to get along with. I notice that when Sandler makes his movies he brings in all the other SNL costars except Myers. Myers never appeared with his costars with the exception of appearing with Carvey in Wayne’s World. I think his problem was that he did not want to co star, but wanted to be the main star all by himself and Garth became too popular. He does seem to have at least buried the hatchet with Carvey temporarily. However, I did hear Dr. Evil was originally a Carvey impression of Lorne Michaels.

      As for Sprockets, that character was never popular enough to carry a movie. Releasing it would have been a total disaster. It would have totally have had to deviate far from the original concept to make a full length movie.


    • To add to those points, Mike Myers in general seems like a guy who out right refuses to compromise is vision. As a result, it’s very easy to label him as being “difficult”. In “Wayne’s World” for example the classic Queen sing along scene instead, would’ve been a Guns and Roses sing along had the studio gotten its way. Mike refused, to the point of almost shutting down the movie. In fairness, that scene in all likelihood would not have worked so well without “Bohemian Rhapsody”. So in that regard, you do have to respect his guts.


  3. Watch Mike Myers in a 1987 TV pilot:

    Myers filmed 110 Lombard for Second City with Bonnie Hunt, Ryan Stiles and Richard Kind.


  4. Mike Myers received a late invite to SNL 40, got no chance to rehearse Wayne’s World:

    Myers tells Letterman he saw the ads for SNL 40 and was wondering why he wasn’t invited. In fact, Lorne Michaels didn’t give him a call until a week and a half before the live broadcast.


  5. Mike Myers’s Comeback is Groovy, Baby:

    t’s been five years since we last saw his face in a movie, six since his last proper starring role. So what has the man who created Austin Powers been up to all this time? Playing floor hockey, writing haiku, painting Colonel Sanders, and making an improbably engrossing new documentary about Alice Cooper’s manager. You know, just the usual stuff.

    By Chris Heath

    June 2014

    Mike Myers has lived in New York for years, one of many things about him that few people seem to know. He receives me in the SoHo workspace he has taken on; until recently his office was in his house. “Not a good idea,” he reflects. “It’s a lose-lose for everybody.” He lives there with his second wife, Kelly, and his two-and-a-half-year-old son Spike. On the day we meet, he and Kelly are expecting their second child. “Any second,” he explains, and he means it quite literally. He places his iPhone on the table next to him, and as we talk he looks at it anxiously when each new message pings, then shakes his head. Not yet. (A girl, Sunday Molly Myers, will arrive eleven days later.)

    Though Myers will bristle slightly at any suggestion that he has disappeared in recent years, it is simply a fact that it has been quite a while since most people have seen him, except in the endless re-runs of his past glories. His face last appeared on screen for a few vivid moments in Quentin Tarantino’s Inglourious Basterds and that was five years ago; the last movie he was instrumental in creating and starring in was in 2008. That was The Love Guru, a rare failure for him, both critically and commercially. Since then, there have been occasional rumors of further Austin Powers and Wayne’s World sequels, but nothing has been confirmed. The project that has finally brought him back into the spotlight, or at least hesitantly hovering around its edges, is a documentary he has directed, Supermensch: The Legend of Shep Gordon. Gordon is best known as a rock music manager and became friends with Myers after their negotiation over what song by Alice Cooper, Gordon’s longest-standing client, Myers could use in Wayne’s World. Not the most obviously fascinating subject, you might think, but the strange and affectionate movie Myers has made is unexpectedly engrossing.

    In person, Myers is stranger still but equally engrossing. Though he is friendly, and at times very funny, for the most part he talks in a way that, superficially, seems wildly different from the tone of the movies that have made him famous: If there are two ways to answer a question, one of which involves a cheap and easy laugh and one of which encompasses thoughtful and unusual self-examination including quotes from, say, a film studies theorist, Myers is generally drawn to the latter. As a consequence, some of what Myers says may seem a little pompous or pretentious when written down. If so, the words themselves don’t fully convey the strange mixture of passion and sweetness with which they are said by a man who seems, for the most part, just deeply and intensely enthusiastic about working things out—and often doing so in ways that his most famous successes might never lead you to suspect.

    At the start, after he has made a cup of coffee—there are assistants somewhere in a back room, but they are not required—we sit on the same side of a long table, facing each other, and I begin with the most obvious question of all:


    Where on earth have you been?
    Every time I make a movie, it’s usually three or four years between. I write most of what I do and create most of what I do. I have four or five creations in my head right now, in fact. That actually takes the longest time, just to sort of figure out which is the one that is appealing to you. And then it takes a long time to write them. On top of that, I also love to take time off. I play floor hockey twice a week here in New York City, I have a great group of friends here. And two and a half years ago I had my first child and I really wanted to be present for that, I wanted to just take it in. And it’s just been…I mean, it’s the happiest time of my life. I had no idea. I knew I would like it, I didn’t know I would love it this much. And then during that time, I was working on Supermensch, which took probably two and a half years. I think there might have been Shrek 4 in there. I can’t remember. Before the kid I don’t even remember, to be honest with you. Everything is “before kid” and “after kid.”

    What did having a kid teach you that you didn’t expect it to?
    Are we ready to go down a very corny field? Adam Sandler, when he heard that Kelly and I were pregnant, called me up and said, “You’re gonna love it—it’s like falling in love for the first time when you’re twelve, but it’s every day.” And I think he undersold how momentous it is. And I’m going to sound corny again—so corn alert—but I didn’t know that there was that much love in me, to be honest. Dana Carvey says it’s like finding a room in your apartment you didn’t know you had.

    Did you worry that it wasn’t there?
    No, I just didn’t know. I wasn’t looking for it.

    The last time people saw you, which was nice but unexpected, was in Inglourious Basterds.
    I never have a five-year plan for anything. One of the most influential things I ever saw was Steven Soderbergh’s acceptance speech, I forget which movie, where he said he just makes things. I reference him at least once a day. To the point where a friend of mine got me a needlepoint that said WHAT WOULD SODERBERGH DO? It’s in there. [He gestures towards an open doorway down the hall] He just makes things.

    And I make things. I make about a painting a week. I started painting about two and a half, three years ago. A friend of mine who’s an amazing painter named Damian Loeb, I would go over just to watch him paint, and then one day he said, “Why don’t you paint?”

    What was your first picture?
    My first painting was of my wife, Kelly. My second one was of my dog, George Harrison. And then I got into this Colonel Sanders thing.

    Colonel Sanders? Help me understand that.
    Growing up in Canada, looking south at America, they are so amazing at creating identity that they even have enough leftover to come up with the colonel who is the colonel of chicken! As a kid I literally said the words, “Why are they militarizing chicken?” Because I didn’t understand the Kentucky Colonel of it all. Our whole family was obsessed with the Colonel. For me show business was buying Kentucky Fried Chicken. Because it was nationally advertised, and it seemed exotic. First of all, it’s a great character. He has his own unique silhouette—you can draw him in three lines. On the day that Lucian Freud died, I painted my version of a Freud with the Colonel, naked, holding a palette, painting himself. Then I did the Colonel with the Pearl Earring. Then I did the Colonel Lisa. You know, which is the Mona Lisa with the Colonel. This is so just a hobby. It is just making stuff. That’s all I want to do, is just make stuff.

    Do you still paint Colonels?
    Oh yeah. Yeah, I do. I know. It’s just a fun constant, you know what I mean?

    We all need a constant in our lives.
    And it’s just for funsies. So it’s not gonna be a “I’ve suffered for my art and now it’s your turn.” I also make GarageBand tunes. I make one a day. I have now for eight years.

    What do they sound like?
    Um, they usually end up sounding like the Pet Shop Boys. And the Lightning Seeds, and a bit like Joy Division, and it can sound like Kraftwerk. I made one this morning.

    What can you tell me about it?
    I downloaded an mp3 of Howard Beale’s speech from Network—”I want you to get mad…”—and I recut it and Auto-Tuned it. One of the things in GarageBand is when you Auto-Tune it, it gives you a random melody. So that’s my melody, and then I write my music around that random re-melodizing effect that occurs, and then I select a beat.

    What did you call it?
    “Just Let Me Have My Steel-Belted Radials.”

    Who will hear that?
    My brother Paul. Kelly, from time to time. She’s very patient. She’s very pregnant right now, has less time to hear my GarageBands. And I’ll hear it. I’ll review them, I’ll re-edit them. But the point is process.

    There’s some of your music in the documentary, isn’t there?
    Yeah, but, dude, good luck trying to find which it is. I made two little things just because we had no money and it needed nine seconds here and eight seconds there. [In the credits supplied to the media, Myers’s pieces are given the titles “Disco” and “Idiot On The Mount”]. It’s just to make stuff, you know. I’ll write poems, too. I’ll write haikus. I also make iMovies all the time, too. Lately all my iMovies have been Spike, of course, so I did A Hard Day’s Spike. I recreated the Hard Day’s Night opening but just with footage that I had of Spike.

    All of this—what does it give you?
    It connects me to creativity, which is, which is to me the greatest gift my family gave me: saying that being an artist is a noble profession. At the end of the day I’m an artist. Sometimes it’s in the comedy arts.

    And these things you make like this are separate from your career? They’re just for personal creativity?
    Yeah. But I’ve had an interesting career, I mean, Austin Powers was personal. I thought you would have to have grown up in my house basically to get the references. Ultimately we were spoofing spy spoofs.

    So when you have something that is so personal but then it connects with people, do you understand why?
    Um, I don’t. There is an oscillation that goes in my head, it’s a 60-cycle hum between two states. [The first is] that is the audience is my boss, it’s a lot to ask for them to come to see something, so it had better be of the highest quality. This is the mentality I grew up with with my dad—that you have to be nice to your boss, and you have to work hard for your boss. Everybody on the planet is in the service industry. That’s the paradigm: that we’re here to serve. That’s one part of the oscillation. Then it oscillates over to “I need to be very connected to what I do and it needs to thrill me on just the whimsical…silly…” Things don’t need to exist, you know. Movies don’t house, clad, shod, cleanse, or feed you. But I’m so glad there’s movies. I love them. So that’s the 60-cycle hum that allows me to make something somewhere in between there. It’s almost like a maglev—in between those two magnets is where I will make something.

    Very often that has worked amazingly for you. But obviously the last movie, The Love Guru…

    …didn’t seem to connect with people.

    Was that a shock?
    Um, nothing’s a shock. You kind of have to make it and you put it out there. There’s a lot in that movie that I love. It’s a very long season. So I Married an Axe Murderer made even less—I love Jack Kerouac, and I love San Francisco, and I wanted to do a romantic comedy that genre-mixed a bit. It was designed to be a big summer movie, and it has since over time come to be the thing that people will say, “Oh I love So I Married an Axe Murderer.” But at the time it was scathingly reviewed, and that reaction was shocking to me. And then Austin Powers happens and Shrek. It’s a long season. I just make stuff, and sometimes it does well. But there’s a lot in that movie [The Love Guru] comedically that I’m really, really proud of. I completely recognize it didn’t meet an audience.

    But I wonder how hard it is to understand why.
    I can tell you this, which makes people laugh: I tried my hardest. I can tell you that much. I just love making stuff, dude, you know, you can’t be too attached up and you can’t be too attached down.

    Continued (page 2 of 4)

    I recently read the New York Times’ review of The Love Guru… [Myers raises a halting palm toward me to stop me continuing, correctly assuming that I am about to quote some of their words. It is a review that reaches its peak in the following, breathtakingly scathing paragraph: “Which might sum up The Love Guru in its entirety but only at the risk of grievously understating the movie’s awfulness. A whole new vocabulary seems to be required. To say that the movie is not funny is merely to affirm the obvious. The word ‘unfunny’ surely applies to Mr. Myers’s obnoxious attempts to find mirth in physical and cultural differences but does not quite capture the strenuous unpleasantness of his performance. No, The Love Guru is downright antifunny, an experience that makes you wonder if you will ever laugh again.”]
    I’ve never read it. I won’t read it, and I’d love not to know.

    But you must have an idea…
    No, I don’t read reviews at all, up or down. I have never read a review. The way I knew about what Siskel said [this is presumably the scathing review of So I Married an Axe Murderer] is that Jay [Roach, Austin Powers director] mentioned it to me. I’ve never read a review. Right out of the gate, because I read a lot of biographies, and it is something that is mentioned a lot, getting into the habit of not reading them.

    You just thought that was good practice?
    Do you know what it is? I truly, truly believe that you have to—this, I think, is Stanislavsky—love the art in yourself and not yourself in the art. I’m very, very grateful to be part of the Hollywood film industry but I never thought that anything that I would do would be so mainstream. I truly, on all things sacred, I thought that I was going to be John Cassavetes, because my training was improv. I was going to go to York University to get a bachelors in fine arts film. Not film production—film studies, which I don’t even think they offer anymore. I read all of the [French film theorist] André Bazin books, 400 Blows is by far my favorite film hands down of anything, you know. Strangelove [he gestures to the Dr. Strangelove poster on a nearby wall] is, comedically, the altar to which we make our offerings. I was a punk rocker, you know. In ’77 I was 14, I’d gone to England, I met my cousins and they gave me “God Save the Queen” by the Sex Pistols, as a parting gift. My dad was so offended by it because he’d fought in World War Two and he was a monarchist that I had to put it in a Jimi Hendrix cover to sneak it in. And from that point on I was “that’s show business but it’s not show business… it’s this weird cottage industry off of show business.”

    But to go from that guy to the guy who made the films you made and had such amazing successes with…did something in your life go awfully wrong or something go awfully right?
    Um. Wow. What an amazing question. I must salute you. [He pauses for some time, as though the verdict is in the balance.] For which I have a definitive answer, which is things went incredibly right and I am absolutely grateful. What I thought I would be, in many ways we were—there’s a lot of subversion in everything I’ve done. The New York Times—according to Lorne [Michaels], I didn’t read it—they had referred to Wayne’s World as “postmodernist”—it’s a teen comedy that had elements of being postmodernist. Spike Jonze, who I love, just asked me to give him his National Board of Review best film of the year award and to write a few words, and I said that what I love about Spike Jonze is he’s like a circus performer who rides two horses. One foot is on a horse called the avant garde, and the other foot is on a horse called being a humble entertainer. And he manages to keep both feet on both horses all the way through, so it’s thrilling.

    But I think, to take your metaphor, that your broad public image is as someone who lives in the comedy stable—and so people maybe don’t realize that your horse arrangements might be a little more complicated than they at first seem.
    First of all, thank you for getting out the equine metaphor stretcher. This gets us back to how not factory-made my career is. Everything I’ve done has been handmade. I love that that was the name of George Harrison’s company: HandMade Films. I’m 50 now, there are two stars on the walk of fame, one for me, one for Shrek, which is insanely flattering. There’s all the insane success. I can’t believe how well they did. It’s mind-blowing, truly. What do they say? If you bat .300 you can get in the Hall of Fame. Which means that seven times out of ten you didn’t connect with the ball. The song that I keep coming back to lately is the song “Across the Universe.” The first time I heard it, it was the first song I ever heard on headphones. And I was like “Wow, this is pop music, but I truly feel like I’m going across the universe right now.” I just think I haven’t lost the sense of the magic of that.

    Is it really true that the very last letter George Harrison wrote in his life was to you?
    Yes. That’s mind-blowing, dude, for the son of a Liverpudlian, a person who worships the Beatles. The letter came on the day of Austin Powers 3 when we were shooting the scene where Tom Cruise, Gwyneth Paltrow, Steven Spielberg, Danny DeVito, Kevin Spacey are doing the Hollywood movie version of Austin Powers’s life as directed by Steven Spielberg, and it was the day George Harrison died.

    Had you ever had any contact with him before then?
    No. And then I got this letter on that day. I cried like a baby, and it’s prominently displayed in my house. He says “…sitting here with my Dr. Evil doll…I just wanted to let you know I’ve been looking all over Europe for a mini-you doll.” And he says “Dr. Evil says frickin’ ” but any good Scouser dad will tell you it’s actually ‘friggin’ as in a ‘four of fish and finger pie’, if you get my drift.” He said, “thanks for the movies, so much fun.” Dude, I can’t even. On the [Beatles] Anthology special I spoke about how I still get teary thinking of that last shot [in A Hard Day’s Night] with the helicopter and all the 8-by-10s and it says B-E-A-T-L-E-S on the door and the helicopter takes off. I love the spirit of that film so much, that spirit got into Austin Powers and Wayne’s World, which is that it’s a party. And he said [in his letter] “I’m sorry I left you on the helicopter that day, I promise I won’t do it again.”

    Did you ever learn how he came to be writing this to you?
    Yeah, but I can’t really speak of it. But it is fantastic and sad and awesome, and this is the magic that I’m talking about that I feel very grateful and privileged to be part of it.

    Um, a while back I was trying to ask you about Inglourious Basterds.

    Aside from your shared encyclopedic knowledge of old war films, what did you and Tarantino have in common?
    He is a very passionate filmmaker—he sees all of this as an immense privilege. I love his movies, first of all. I think only a few filmmakers should be entrusted with dream sequences when they make films. Only some filmmakers should be given the license to make a dream sequence.

    You think there should literally be a license that has to be applied for?
    [nods] I think you must apply for it, and there should be a dream board.

    And what would be the most common reasons for rejection?
    At times dream sequences can be an immodest, athletic, non-connected-to-the-dramatic-question-that-you’ve-posed detour that shows off one’s cinematic chops and breaks the tonal agreement you’ve made with the audience right out of the gate. That would be my biggest problem. [Pauses] Fellini gets to make dream sequences.

    Who else gets a lifetime pass?
    I would say Spielberg. And I loved [Kubrick’s] Eyes Wide Shut, which I knew to be Traumnovelle, a dream novel, based on Schnitzler’s Traumnovelle, so I knew the deal right away, no deal was broken for me, and that is an unbelievable dreamscape that Kubrick’s created. I think Darren Aronofsky has the right to make a dreamscape. I think Soderbergh should also be allowed to make dreams, because there’s nothing that man can’t do. I worship him so much, because he just makes things and some things are for everybody and some things are for a few people. And he takes his time and he drops out, he comes back in. I just think that the dude is doing everything right.

    That’s what I think about with Tarantino, is that only certain people should be allowed to make Grand Guignol, and he has taken the absurdity of that to such an amazing next level and it’s so funny. It’s so fascinating, his universes are such beautiful immaculate universes. I think André Bazin talked about kinetics—which is kind of like, if you were watching the film on the airplane and you didn’t buy the headset, you could still follow kinetically as if you’re a dance partner with the filmmaker and they have their hand on the small of your back, guiding you through it. One thing leads to the next leads to the next, and the dominoes that Tarantino sets up are so fantastic—so it’s appropriate but unusual, appropriate but thrilling, appropriate but scary, appropriate but suspenseful. It’s never not appropriate. Everything is, is organic to itself—even the most fantastic ideosphere he might create. There are rules unspoken, but there’s always an authenticity to whatever ideosphere he creates, you know what I mean? The other thing that is amazing about Tarantino, which is another André Bazin concept, is presence—where you no longer see the frame. So we often talk about “dreams are private movies and movies are public dreams”, you know? In that way Tarantino, Scorsese, Francis Ford Coppola, Spielberg, Soderbergh—for me they create such fascinating worlds that you just don’t see the frame at all, you’re never taken out of the movie, you are just in that public dreamscape, and it’s thrilling.

    Had you ever spoken to Tarantino before he asked you to do the movie?
    No, no, he just called out of the blue. I thought it was my brother Paul punking me.

    Would you have done anything he’d asked?
    I don’t know. What an interesting hypothetical. He called and said “Would you like to play a British general in a World War Two movie?” and I was like “Are you kidding me?” It was amazing. We shot at Nazi headquarters, and first day I got there he was like “Mike, come here”, and I watched a scene where Hitler is having a portrait done of himself. I didn’t know what to make of it except to say, “My god, what an unbelievable, awesome life I have.”

    Hanging out with Tarantino and Hitler for the day.
    Yeah, it’s one of the most fantastic experiences of my life.

    Do you get offered lots of non-comedy acting parts?
    I never get offered anything. I’ve never been offered anything. I’ve never been on lists where I’ve been offered anything.

    Literally? People are not sending you scripts and saying “please could you do this?”
    Since 1991 I have received fifteen scripts.

    That’s impossible!
    No, it’s true. I’m just not that guy. I never will be that guy.

    So if more filmmakers you admired offered you interesting dramatic parts are you totally open to that?
    Yeah, a hundred percent, yeah, absolutely.

    Either I’m crazy or people are going to read this and you’re going to get pestered.
    Oh well, um, that would be very flattering. I’ve just never expected that that would happen, you know. I wrote my own stuff when I was a kid in Toronto doing little comedy bits before punk bands, I wrote my own stuff at Second City, I wrote my own stuff at Saturday Night Live, and I, for the most part, have been able to write my own stuff in the movies. I’ve just been on that trajectory, you know.

    I understand that, but I just assumed you turn everything else down.
    I do turn virtually everything down.

    All fifteen of them?
    All fifteen of them, yes.

    Well, no, because you did Inglourious Basterds.
    [nods] I did 54 [the little-seen 1998 movie about the world of the disco-era New York club Studio 54] because I loved that character so much and loved that world.

    Continued (page 3 of 4)

    So then you turned down thirteen of them?
    Well, I shouldn’t…I don’t know the exact number. It could be as high as forty. But I would say in the fourteen-to-forty range.

    It’s weird to think that for a certain generation the moment they may most readily associate you with in recent years is when Kanye West said “George Bush doesn’t care about black people” on the Katrina telethon while you were standing next to him looking a little…well, I don’t know how to describe you.

    And a bit uncomfortable, maybe?

    Do you remember what you were thinking as he said it?
    I don’t do many things. And I remember watching the television and seeing, because I’m a citizen now, my fellow citizens on the roofs of buildings dying. And I turned into my father, where my dad would shout at the TV. My dad hated injustice. I’ve been called for many, many telethons, hither and yon, and I remember just being so upset and feeling, ironically, that if this was white people on roofs, the army would be there in five seconds. And these are my fellow citizens, who just happen to be people of color, sitting on roofs for multiple days. So when they called me I said, “Yeah, I’ll do it.” I went there specifically because I wanted to help the Red Cross. I was supposed to be by myself, and I was, like, “fine”, then they said “Do you mind doing it with somebody else?” And I always remembered that Live Aid thing of “leave your egos at the door”, so I said, “Sure, of course.” And they said, “Would you do it with Kanye West?” and I said, “Uh, sure.” I actually wasn’t familiar with his work. And then he said he was going to take some liberties with the thing.

    So he gave you kind of a warning.
    Yes, but I didn’t know that the liberty would be calling out the president.

    If you watch the footage, I don’t think he knew.
    I don’t think so either. But the question itself is a little beside the point of what actually went down in New Orleans. For me it isn’t about the look of embarrassment on my face, it is truly about the injustice that was happening in New Orleans. I don’t mind answering the question but the emphasis of it being that I’m the guy next to the guy who spoke a truth. I assume that George Bush does care about black people—I mean I don’t know him, I’m going to make that assumption—but I can definitively say that it appeared to me watching television that had that been white people, the government would have been there faster. And so to me that’s really the point—the look on my face is, to me, almost insulting to the true essence of what went down in New Orleans. You know, there’s a great line by the great Northern English poet Elvis Costello, as sung by Nick Lowe: “What’s so funny ’bout peace love and understanding?” [Myers seems both dubious and slightly irked when I tell him that it was the other way round—the song was written by Nick Lowe but made famous by Costello.] The point being that. What is so funny about peace, love, and understanding? To have the emphasis on the look on my face versus the fact that somebody spoke truth to power at a time when somebody needed to speak? I’m very proud to have been next to him. Do you know what I mean?

    Of course.
    I’m, like, super proud to have been next to him. The look on my face is…to be honest with you, I thought I handled it well. I was like “This is what’s happening…” Because live TV is my milieu, and improv is my training, you know. It has been painful that the culture has at times meditated on my surprise, when it’s really the message, dude. The message, the message, the message, you know. There’s a world of fail culture, and it’s hardly a fail on my part to be next to the guy that spoke truth to power at a time when horrific injustices… [he trails off, point made]

    I was watching it live in a hotel lobby in Northern California, and I can still remember it exactly.
    I’m not downplaying its remarkableness. I mean it is what it is, dude. You know, I’m having a remarkable experience on this planet, a truly extraordinary experience. Given where I’m from, I am so grateful for the extraordinariness of it. I’m having an extraordinary experience on the planet.

    You’ve recently been busy making Supermensch. Do you want to make documentaries, in general, or did you just want to make this documentary?
    I wanted to make this documentary. This is not a career move. This is entirely a labor of love.

    Did you look at, or style it on, any other documentaries?
    I’ve been a fan of documentary filmmaking for forever. I remember going to see even Louisiana Story. Cathy Come Home, I loved that. I think the biggest influence on me would be Italianamerican by Scorsese. Loved Man on Wire. The Kid Stays in the Picture, you have to look at that film because it’s about show business and in essence, truly what the film is about in my opinion is family. Supermensch is about family. That one of the things that we all seek is sanctuary.

    But in the movie you’ve got family and sanctuary on one hand, and on the other fame and celebrity. In its form and in the stories told in it, Supermensch seems like it is celebrating high and hilarious times with the rich and famous, but then it ends up with Shep Gordon saying “there’s nothing about fame that I’ve ever seen that is healthy…it’s very hard to survive.”
    I call fame the industrial disease of creativity. And it is. Fame can be so toxic that it has reproductive harm. From day one in talking to Shep it’s been family family family, and interviewing him it became clear that everything for him has been a search for that family.

    Have you found fame hard to survive?
    An artist’s duty is to be misunderstood, that’s for sure. It can be weird to have crimes committed in your name. It has been weird to see things written about you up and down that have absolutely no basis in reality. Sitting in Toronto, I thought that was not possible, but having gone through this experience, I’m like “wow, that’s really possible.” That part of it has been odd. And the notion that people have that fame is ego boosting is one that I would have believed in Toronto. It’s more ego death than it is ego restoring. Mostly the exposure that comes with fame is like putting your penis on the table and having everybody saying “that looks like a penis, only smaller.”

    What kind of fictions or untruths along the way did you find most jarring?
    I shouldn’t like to get into those.

    Can you explain anything at all?
    The craziest one, of course, is “morbid fear of tunnels.” UFO alien sex diet…I “only eat salmon.” It’s just not true. Though I do enjoy salmon. England creates many fascinating ones: “He refuses to drive.” I didn’t want to drive in England, on the wrong side of the road. Here’s one: We had 120 people at our wedding. Kelly and I didn’t tell the press. I didn’t grow up going “we have to call the press.” But a private wedding became a secret wedding. Do you see the subtle paradigm of that? “Recluse,” I’ve had. I go out all the time, floor hockey twice a week, we have a standing get-together at our house every Friday, I have friends who are schoolteachers, I have friends who are social workers, I have friends who are painters, friends who are graphic designers, friends who are musicians, and some friends are actors and some friends are filmmakers. I’m very engaged in life. I’m very, very grateful for the approbation and exposure my work has occasioned but when I don’t have a movie coming out, I don’t do interviews. We are talking right now because I have a movie coming out called Supermensch.

    Um…going back one moment, did you just say the words “alien sex diet”?
    [nods] Alien sex diet. I have no idea—I was just told about it. Me and a whole bunch of other celebrities had discovered this diet. You know, my feeling about all of it is that the perks outweigh the quirks, and to complain about it is like saying “Oh my god, these gold bars are so heavy. Why do they pay you in gold bars?” But you asked me a very, very clear question.

    And the movie you made about Shep Gordon really throws out questions like that.
    Yeah. He toiled in the fields of fame.

    It’s weird that his story, when you summarize it, sounds fairly generic, but in the telling it’s much more interesting.
    He is a combination of Brian Epstein, Marshall McLuhan, and Mr. Magoo. He is Zelig, Gump, and P.T. Barnum. He is all of those things. We’re all a cast of thousands, you know. We’re all filled with different aspects of things, we’re all filled with contradiction. I mean intimacy is an interesting contradiction. We want to be in a relationship to be seen but we don’t want to be seen at the same time.

    Toward the end of Supermensch you describe Gordon as “the nicest man I’ve ever met.” That’s not a very promising starting point for an interesting documentary, and yet somehow it isn’t the problem it should be.
    I see what you mean. Shep truly does not see kindness as weakness; he doesn’t see love as a faulty business plan. And when one says “nice”, my tongue is firmly implanted in my cheek—that it can be reduced to the word “nice” when in fact it’s part of a broader, beautiful paradigm.

    The idea of reciprocation and karma runs very strongly through the movie, and most of the time it’s in a positive way. So much so that the viewer almost doesn’t notice that Gordon applies the same philosophy in a consistent but shockingly raw way when it comes to Teddy Pendergrass. [Gordon, Pendergrass’s manager, describes how he unsuccessfully beseeched Pendergrass, who was refusing to take the stage for a London concert as the audience waited, warning him that a decision like that would come back on him. Soon afterwards Pendergrass had a car accident which left him a quadriplegic.]

    Because Gordon’s really saying: I believe in karma, and this guy lets these people down then the next week he has an accident that cripples him. And that what happened to Pendergrass is consequently his fault.
    He’s not attached to fault and he’s not attached to blame. He just believes that stuff goes out and stuff goes back. But I completely see your point and I think it’s a very astute observation that that aspect of his philosophy he stands beside, as uncomfortable as that might be. [Gordon, incidentally, then helped look after Pendergrass until he died twenty-seven years later.]

    I don’t know if I’ve ever seen a documentary before where one of the on-camera interviewees is the movie’s director.
    Yeah. Good question. I don’t know the answer to that.

    Well, you got some good stuff out of yourself, so it clearly worked.
    You should have seen the crap I cut out. We were panning for gold.

    You tell a funny story from the beginning of your friendship with Gordon about being invited to a luau at his house in Hawaii at which Arnold Schwarzenegger and Sylvester Stallone are to be in attendance—”like being at Madame Tussauds, with a pig” as you memorably describe it. It did leave me curious about what the evening was actually like for you.
    I got too quiet. I’m an introvert, ultimately. I’m a site-specific extrovert but I’m mostly introverted, and I don’t do well in small groupings. I can talk to a large group of people and I’m okay one on one, but in small groupings I tend to get very shy, and I just sat there drinking a Molson trying to take it all in. I just observed. You know, all of this stuff happened so fast. I met Shep in ’91. I was a punk rocker up until ’83, however much can one be an authentic punk rocker in the suburbs of Toronto, so that’s eight years.

    You talk in the movie about a difficult period in your life when you invited yourself to his house in Hawaii for a week and stayed for a couple of months. [Myers says in the movie: “He took care of me like as if I was a baby chick that had fallen out of the nest.”] I imagine the audience will assume that this was to do with the end of your first marriage.
    Then they’d be wrong. I was having real problems accepting my father’s death. My son’s birth has been the most amazing like healing for me. But it’s the sense of the one person who I would want to have seen this the most. I’ve said this too many times—it just happens to be true so I don’t know what to do: My dad informed every aspect of everything I’ve done. And I thought I was okay and then I wasn’t. Shep was very helpful in allowing me to just be. The most amazing thing with Shep is he didn’t ask me questions. He didn’t wonder why I was there. And Hawaii is such an amazing place, it’s so restorative. The irony being that my dad was always angry with Hawaii because the Hawaiians murdered Captain Cook: “Bloody murdered him, mate!”

    Continued (page 4 of 4)

    An excellent point, I suppose.
    I had a great experience with my parents—my dad was my hero. A funny Liverpudlian. My mom’s funny as well. She used to do this thing where she pretended she was a zombie and, and my kid Spike loves it, so I called my mom on her birthday and said, “Hey, my kid loves the zombie.” And my mom, without missing a beat, said, “I created a monster.” Isn’t that a great line? I said, “Dude, that’s a really good joke.” She said, “It wasn’t just your dad who was funny, you know.” My dad just had a great way about him, too. I’d say, “I don’t want to go to bed”, and my dad would say, “Well, you have to.” And I’d say, “Why?” And he said, “Because in this play we call life, I play your father, and you play the son.”

    Do you watch a lot of comedy these days?
    I do.

    Modern comedy?
    Both. You know, Lorne has a great expression: “Comedy and sausages are two things that, once you know how they’re made, they affect the appetite.” Comedy done right can be an art form; for the vast majority of the time comedy’s a craft, and there is certain rhythmic constructs that can be learned. What interests me is…one of the loveliest things that Seinfeld said to me about my character Dieter on Saturday Night Live was that it was comedy where comedy hadn’t existed before, and I had broken all the rules of American parody. I was parodying something that nobody had seen. That idea: of discovering new frontiers of subjects fit for comedy. Right now the show that I’m loving is Portlandia with Fred Armisen.

    Your former bandmate. [Myers and Armisen played a set of original synth-pop tunes at a New York club in 2011 under the name The Modern Weepers.]
    Yes, indeed. Indeed.

    What happened to your band?
    We don’t have any time. When you have a kid, everything changes. It was fun. He is such a great musician, oh my God.

    What’s the last movie that really made you laugh?
    Oh, The Trip, I loved. That’s the Cassavetes in me. I think what Steve Coogan does is so cool.

    But that was a while ago.
    Yeah. Yeah.

    Do you know what your next movie will be?

    I guess most people expect either a Wayne’s World 3 or a new Austin Powers.
    I don’t know. Do they? I can’t think of it that way. Two baseball things that are in my consciousness always: One is “you can’t think of the plate, you just have to hit the ball.” You can’t think about anything, you just have to be in that zone. I truly believe that. The other one is this famous story, and I’m probably gonna get it wrong—I didn’t grow up with baseball, but I just remember hearing this story and being blown away—of a very famous American catcher and there’s a pitcher and it’s the World Series and it was game seven, and it was the bottom of the ninth. One more pitch, they would win the World Series. So, all the pressure’s on. The catcher calls a time out to come to the mound. The pitcher goes “what should I throw?” and the catcher goes “I don’t know, throw anything you want.” And he goes “Well why’d you come to the mound?” He said “Cause isn’t it great? Isn’t it great that we’re here?” He’s like “What do you mean?” He goes “When you’re a kid did you ever think that it would be bottom of the ninth, one more pitch?…I just wanted to come and talk to you, that’s all.” He puts his mask back on, they throw a strike, won the World Series. There is a little bit of: You have to stay in that zone, you know. You just have to. And it’s a yummy place. It’s a very yummy, creative, fruitful place.

    And so how far away are you from knowing…?
    I have five ideas. You need to just let them percolate. Everything’s about whether the idea is sparking me. Is this something that I can honor the audience, and make it great, you know? Those are the two things. Often the logistics of moviemaking are, between coming up with an idea and it on the screen, the tendency of the idea is not always to bloom, it’s mostly to rot. It’s an entropic process. So between you pitching an idea and it getting written down, nature takes some of its energy away. Between it being cast, it being shot, it being edited. And then you’re in the theater and the guy in front of you has a coughing attack, you know. This is just the nature of it.

    Are these five all ideas that you hope will all be movies one day?
    I do but I can’t be attached. When I wrote Austin Powers I’d also written a Battle of Britain movie at the same time. This Battle of Britain movie I was certain was going to be it, and then it was Austin Powers.

    Was that a funny movie?
    It honors the heroism of it. My mom was in the RAF and she’s one of those radar ladies with the sticks on the Perspex-covered map of England. The tone that I wanted for it was True Lies. An action movie with some comedy. I love that film. I think that film is tonally one of the more perfect combinations of comedy and action. I’m in for ten minutes, I’m in for two hours with that movie. If I get ten minutes in I’m, like, “Ahhh, dammit, I’m gonna be late.”

    But are you prepared to go back to, say, Wayne’s World or Austin Powers if you decide you want to?
    That’s an interesting question. The quick answer is: Yes, I’m prepared to do anything, you know, if it’s good. If it feels like it’s going to be thrilling. You know, one of the great things of turning 50, one of the great things of becoming a parent, is I get to be me. I don’t have to please anybody. I’m extremely happy with how things are going, have gone, and will go. I’m very grateful for my beautiful family and I’m grateful that I got to choose an artist’s life. But I don’t have to explain myself to anybody. I can tolerate living in the temporary uncomfortability of being misunderstood. At the end of the day, the feedback I get from people—including George Harrison which is of course extraordinary—but equally, and I promise you equally as meaningful to me, complete strangers, who are not known artists, who have said “We’re going through a hard time and we put on Austin Powers, Wayne’s World, whatever, and for that moment that your movie was on there was a truce in our house….” That’s all that Shep ever talks to me about, by the way, did you know that? He never talks to me about box office, he just keeps saying to me, “Do you know how much joy you bring people?” And I go, “I don’t.” But he goes, “That’s it, dude, your movies make people happy.”

    Do you see a lot of echoes of what you’ve done out in the culture?
    Constantly, and it’s unbelievably flattering. I noticed it when I got super sick. I had this horrible flu that was going around New York. It starts in the throat and then it went everywhere, and I was down, dude, and I couldn’t sleep I was that sick, and for eighteen hours the only thing I could do was watch TV. I propped myself up on the couch and just grazed. There were seventeen references to stuff that I had done.

    Somebody called somebody their Mini-Me without explaining it, somebody said somebody had lost their mojo, somebody said “schwing”, somebody said “you’re like butter”, somebody said “touch my monkey.” It was surreal. I thought I was hallucinating. But it was very gratifying. I was blown away. It was very surreal, and very satisfying.

    How would you like people to think of you these days?
    I don’t know. You can’t go there. It sounds so corny, but the only meditation you can do is love…alignment with…and making stuff. The insane absolute almost Newtonian law of just loving the art in yourself and not yourself in the art is the path to such amazing happiness

    So what I’m hearing is: you’ve got a lot more Colonel Sanders paintings in you.
    I do. A lot more GarageBands. And I have a lot more movies. I just make stuff, you know. That is absolutely the truth. That is the absolute truth.


    • After “The Love Guru” I think that he figured out that it only worked for him when he was personally involved in the work, so he avoids things that he doesn’t really love or have a personal connection to. For example, “Wayne’s World” was based on his experience or observations growing up in Canada (hence the hockey, the music, and so on) and “Austin Powers” had a lot to do with his dad and the relationship he had with him.


      • 15 Movies That Completely Ruined Actors’ Reputations


        After a successful career on Saturday Night Live, Mike Myers decided to take a shot at comedy on the big-screen. He started by making Wayne’s World, the 1992 hit based on one of his reoccurring characters on SNL.

        Afterwards, Myers became a pop culture icon as the cheeky British spy Austin Powers, making three films in the parody franchise. Riding high on his success, Myers lent his voice to Shrek, which was praised as one of the freshest animated comedies in years.

        However, Myer’s success came to a grinding halt in 2008 with The Love Guru. Criticized for being racially insensitive and simply rehashing old jokes from previous movies, The Love Guru was torn apart by fans and critics alike, and the comedian has been suffering for it ever since.

        Besides a brief stint in Inglourious Basterds, and a gig on The Gong Show, the comedian has been largely absent for the past nine years. Let’s hope if Myers ever comes back for Austin Power 4, he’ll make a movie that’s at least funny this time.


  6. 10 Actors Whose Craziness Got Them Kicked Out Of Hollywood:

    Mike Myers

    Remember when Mike Myers was the definitive name in Hollywood comedy, and now he’s been relegated to somebody whose name you think of now and again, only to find yourself thinking: “Oh, what happened to that guy who voiced Shrek?”

    Well, in his attempts to make you laugh, Mike Myers alienated a lot of people, unfortunately, which kind of put a pin in his already ailing film career. Rob Fried, a Hollywood producer, said of Myers: “His way of getting what he wants is to emote and threaten and express anger. It’s not healthy for personal relations.”

    So, yes: Myers has something of a reputation for being an overbearing crazy person who you absolutely don’t want to find yourself on the wrong side of. In the same way that James Cameron is rumoured to be frightening on set for being an ego-maniac, Myers has been described similarly. Which means a lot of people likely cried to bring you Austin Powers.

    Eventually, Myers managed to burn enough bridges in the making of his late-stage comedies (mainly The Love Guru) that nobody wants anything to do with him. Which is essentially the reason why he’s disappeared for such a long time – there are very few folk left in Hollywood willing to collaborate alongside such a self-obsessed maniac.


    • Have you ever met a celebrity who turned out to be a total douche?

      Mike Myers (again). My company made a line of novelty, talking key-chains. We did a sculpted bust of Austin Powers that had phrases from the movie activated by buttons (“Yeah, Baby!”). Mike Myers had to approve all likenesses of himself (in most cases, the studios or licensing agency can do the approvals). When we got our sculpt back after submission we found a note had been placed in the hollow underside – written by our sculptors, a husband and wife team – “Dear Mike, we are huge fans. Can we have an autograph?” Reply written on bottom of the note – “NO”. Later, when the product was pretty popular, as the Austin Power catch phrases had taken off, we would get a phone call at 5:00PM Friday, when everyone was getting ready to be done for the weekend, from Mike’s assistant. Mike was having friends over that weekend and could we send him a few dozen via overnight freight for him to give out. Freight was costing us a couple of hundred dollars for overnight, Saturday delivery. By the third time in three weeks, I told the assistant that I would give him the key-chains, but we needed his account # for the the freight. The surprised assistant said “but these are for Mike Myers”. My reply “then he can afford it”. That was the last time we got that request.


    • Directors Chewed Up by The Machine – Page 2

      Originally Posted by FatherDude

      What about Penelope Spheeris? Supposedly she didn’t get along with Mike Myers on WAYNE’S WORLD and he blocked her from being hired on the sequel. And the less said about BLACK SHEEP, the better. She has subsequently made documentaries (which is her original genre anyway), but I wonder how much personal preference versus burned bridges influenced the distinct lack of narrative features on her resume after a profitable string of studio comedies in the 90s.

      Myers has rubbed plenty of collaborators the wrong way, including Dana Carvey during that same period on Wayne’s World. So I can’t think its 100% her – although The Chris Farley Show certainly makes no qualms about her being horrible.


  7. Myers (along with Jim Carrey and Keanu Reeves) makes WatchMojo’s list of Top 10 Canadian Actors


  8. What Happened To Mike Myers & What is He Up To Now Days?

    Everybody knows Mike Myers. Whether it’s from his early success as hilarious metal-head Wayne Campbell in Wayne’s World, his pitch-perfect Scottish accent in Shrek, or his gut-busting roles in the Austin Powers trilogy (which he both wrote and starred in) as Austin Powers and his arch-nemesis Dr. Evil, among others, Mike Myers is one of the most famous comedy actors of all time. So, you might be wondering, where is he, and what is he up to in 2015?

    Mike Myers was born in Ontario, Canada, and became involved in acting at the ripe young age of two years old. By the age of ten had his heart set on becoming an actor. After graduating high school in 1982, Mike became involved in theatre and improv comedy, and even moved to London to found an improv comedy troupe, which he called “The Comedy Store Players.” He returned to Toronto in 1986 and by 1989 had joined the regular cast of Saturday Night Live.

    In the 90s, it seemed as if Mike Myers was everywhere you turned. Wayne’s World, a full-length feature film based on his Saturday Night Live character Wayne Campbell, was a huge hit when it was released in 1992, and is still fondly remembered as one of the greatest comedies of all time. He followed up that early success with frequent appearances in SNL, a Wayne’s World sequel, and then, finally, the enormously popular Austin Powers trilogy.

    By the time Shrek and Austin Powers: Goldmember rolled around in the early 2000s, it seemed as if Mike’s future in Hollywood comedy was set in stone. Part of what made him so popular was his diversity: over the course of the three Austin Powers movies, he not only portrayed Austin Powers, the hero of the film, but Dr. Evil, Austin’s enemy, as well! On top of that, he played Fat Bastard and Goldmember. Keep in mind, this was also a film that he wrote. It seemed as if there was no limit to his creativity and talent.

    So what happened to him? Shrek 2 came out in 2004 and then… not much else. A string of poorly received Shrek sequels, some TV specials, and some cameo appearances as Wayne characterized much of his post-Goldmember years, and each one was less funny and less memorable than the last.

    Besides a seriously wonderful cameo in Quentin Tarantino’s Inglourious Bastards and a seriously awful turn in The Love Guru, what has Mike been up to?

    He got divorced from his wife Robin Ruzan after twelve years of marriage in 2005, and then began dating a cafe owner named Kelly Tisdale in 2006. They kept their relationship private and out of the public eye, getting secretly married in 2010 after four years of dating. The couple has two children together: Spike Alan and Sunday Molly.

    In a bit of an unforeseen twist, Mike is also an avid Dungeons & Dragons player! in 2006 he participated in Worldwide Dungeons & Dragons Game Day. He also keeps himself busy by playing soccer for charity for Hollywood United Football Club, a celebrity team.

    It seems as if he’s just enjoying a low-key home life, after his whirlwind of success in the 90s and early 2000s. When a celebrity goes so far as to keep their marriage secret from the press you can rest assured that they’re probably pretty bored of publicity. However, comedy fans rejoice, because in January of this year, he signed a two-year contract with television network HBO! The details of the deal haven’t been made public yet, but HBO has said that they’re “tremendously” excited to work with him. Here’s to the return of Mike Myers!


    • 40 Stars Who Vanished Without a Trace From Hollywood

      Mike Myers

      Aside from the Shrek films, the last time anybody saw anything of Mike Myers on the silver screen was a blink-and-you’ll-miss-it role in Inglorious Basterds. He did, though, direct a documentary, and there are always rumors of another Wayne’s World movie.


      • Famous Celebs Who Vanished

        Post by 2coldfunk on 17 hours ago
        keezy Avatar
        17 hours ago keezy said:
        As far as acting goes, Mike Myers, Eddie Murphy and up until Goosebumps, Jack Black.

        Also, apart from Dumb and Dumber To, you rarely see Jim Carrey either, or he is often unrecognizable like in Kickass 2, it’s weird to see these once comedy giants rarely appear in movies now.
        Mike Myers basically “a**holed” himself out of the business, didn’t he? I’ve always heard that, for as funny as he is, he’s kind of a jerk and a pain to work with.

        Post by That Crazy Dan on 13 hours ago
        The only way another Austin Powers could work IMO is if they parodied the modern Bond or Bourne flicks instead. The time travel plot is pretty much played out, and that’s from someone who liked The Spy Who Shagged Me.

        Post by blackoutcreature on 9 hours ago
        For those mentioning Mike Meyers, I think “The Love Guru” did a number on his career. He’s always had a history of being difficult to work with and rather pretentious considering what his body of work includes. He supposedly once said he wanted to make a film with Frederico Fellini, a director who’s style doesn’t really mesh well with the Austin Powers crowd. And who can forget him insisting on completely redoing his voice work for Shrek just so he could do his Scottish accent? But he got away with it because he made money. Then “The Love Guru” completely bombed and it gave a lot of people who didn’t like him an excuse to not have to work with him.

        Post by 2coldfunk on 8 hours ago
        8 hours ago zrowsdower said:
        17 hours ago 2coldfunk said:
        Mike Myers basically “assholed” himself out of the business, didn’t he? I’ve always heard that, for as funny as he is, he’s kind of a jerk and a pain to work with.
        Can you elaborate some?
        The longstanding feeling on Myers has always been that he’s a bit of a dick, and far more of a perfectionist than he needs to be, considering the type of stuff he puts out. But, he made bank, so people put up with him. Then the Love Guru bombed harder than Fat Man and Little Boy, and suddenly, a lot of shit dried up for him.

        Post by Gojira on 8 hours ago
        Last time I have seen Mike Myers was him dressed as a Mountie on a episode of Last Week Tonight.

        But I guess he and John Oliver are friends cause they were both in The Love Guru. Have not seen Guru but I in my bit of research to make sure this fact is correct, I discovered Oliver’s character’s name is Dick Pants. Glad I avoided that one.


  9. forrestbracket

    leabeau here link farley as shrek what could have been.


  10. forrestbracket

    Leabu tell what you think of farely voice recording. No disrespect to him but he didnt much energy in it. He didnt add anythign special to it he just read same way he did his movies. myers version better


  11. forrestbracket

    There is documentary of chris farely life coming to theater. i wish there waS ONE about phil hartman life coming up. I thought he was funny snl . newsradio was bland after he died. A documentary of phil would be interesting he had to deal with his wife coke problems ..


  12. NBC producers recall Kanye West’s live “George Bush doesn’t care about black people” moment:

    A Concert for Hurricane Relief aired 10 years ago, on Sept. 2, 2005, following the Hurricane Katrina disaster. “I remember hearing the words that were coming out of his mouth and looking down at the script and (thinking), ‘this is not—this is not going well,’” Frank Radice, the show’s senior producer and musical director says, adding: “I remember saying [to someone] ‘it was good TV.’”


  13. John Oliver and Mike Myers Blast Canada’s PM Stephen Harper: ‘Do not vote for Stephen Harper’


  14. Groovy, baby! Mike Myers welcomes his third child


  15. Ryan Gosling and Mike Myers brought Canadian Christmas to SNL:


  16. A man is trying to raise $2,500 to get his Wayne’s World 3 script read


  17. What roles saved/ruined an actor’s/actresses’ careers?

    I’d say the downward spiral began with Goldmember, picked up steam with the disastrous Cat in the Hat movie, and finally hit rock bottom with The Love Guru.

    My guess is that he became a victim of his own success. A couple Austin Powers blockbusters and Shrek and the next thing you know people around him are either telling him what a genius he is, or they’re afraid to tell him when the joke is played out.

    Someone mentioned Eddie Murphy, and it seems to be the same thing at work. He made a shit ton of money making movies where he plays multiple characters, and so he ran that gimmick into the ground.

    The frustrating thing about Myers is that he’s got range. He can play serious roles. He could play a regular guy in a comedy. Instead, he just keeps going back to the wacky character well, and it has long since run dry.


  18. Mike Myers to fold the history of Canada into his own upcoming memoir


  19. 10 Actors Hollywood Forgot About


    If Michael Cera and Mike Myers are any indication then there’s definitely something about Canadians that just can’t take fame once they reach the peak of it. Or maybe it’s just people named Michael. Either way, Mike Myers seemed poised to take over the comedy world after the incredible success of his Austin Powers and Shrek films, until… That never happened. Then The Love Guru came. And it was pretty much game over for the once promising Saturday Night Live breakout.

    While Myers still enjoyed a long and successful career – longer and more successful than most on this list – we can’t help but wonder what went wrong. While it’s pretty clear why Hollywood chose to forget about Myers, we still are hoping for a comeback in the form of Austin Powers 4 – currently the only production he’s been linked to since his cameo in 2009’s Inglourious Basterds.


  20. Actors who crossed the line on set

    Mike Myers

    He may be funny while the cameras are rolling, but in between takes, Mike Myers is reportedly incredibly difficult to work with. His ridiculous antics on the set of Wayne’s World have been agonizingly detailed by the film’s director, Penelope Spheeris, who later told Entertainment Weekly (via Gawker) that she “hated that bastard for years.” “You should have heard him bitching when I was trying to do that ‘Bohemian Rhapsody’ scene,” she vented. “‘I can’t move my neck like that! Why do we have to do this so many times? No one is going to laugh at that!'”

    Even worse, Spheeris recalled a moment (via ABC News) when Myers spent hours on the phone with his manager threatening to quit because the set didn’t provide margarine. A meltdown over margarine? That’s not funny—that’s just sad.


  21. 15 Marvel Actors’ Worst Movies


    Even though Mark Ruffalo is typically terrific, he’s susceptible to the surefire dud that most would pay to wipe from their IMDB page. The nebbish performer has a few flops up for contention, among them agonizing dramas The Dentist (1996) and All The King’s Men (2006), though to play the Johansson card, the selection must make more than moderate use of its Avenger. As such, the pick for this list is rom-com debacle View From The Top.

    Enlisting a cast of Gwyneth Paltrow, Christina Applegate, Robe Lowe, and Mike Myers, View is a clinic in how romantic comedies can go wrong. Idiotic pacing, flaccid characters, and editing that borders on the incoherent, the film feels like a cinematic slap in the face with a wet fish. Joining in on the non-fun is Ruffalo, playing Paltrow’s love interest and an hombre as clueless as the rest of this merry band of airheads. Arriving only a year before his breakout appearance in 13 Going on 30, it was a marked low point for this Hulk of an actor.


  22. Sorry to ask but lebeau you stated carvey bigger star then myers during first austin powers. i thought they had equal footing . like myers dana biggest success was snl . its not like carvcey had hits before that


  23. Director Jay Roach Says A Fourth ‘Austin Powers’ Movie Has Been Seriously Discussed

    In news certain to thrill Spencer’s Gifts stockholders, there’s still a flicker of hope that Austin Powers will be taken out of suspended animation for a fourth cinematic adventure. Mind you, if you’re still scarred by The Love Guru, this might come across as more of a threat than a flicker of hope. Maybe even a flicker of doom.

    Trumbo director Jay Roach helmed all three entries that have shagged on the big screen, and in an interview with Larry King, he revealed to the aging show host that he and comedian Mike Myers have spoken about the prospect of doing another Austin Powers movie. In fact, it’s been a recurring subject of conversation for the two:

    “You know, [Mike Myers and I] talk about it every time we get together. I would say it’s in a latent phase right now, but someday if we find the right idea that seems to have it earn itself, for sure. Mike gave me the break of a lifetime in letting me direct [Austin Powers: International Man of Mystery] so I’m always good to go.”

    If you’d like to compare notes with where this puts us versus the last check-in, a fourth film has made all the progress of an unnecessarily slow-moving dipping mechanism. In fact, we might even be going a bit backwards. In 2011, it was reported that a deal to bring the spy spoof back was nearly done. Now we’re at a stage where Myers and Roach simply talking about the project feels like a development.

    Maybe everyone involved should shrug it off and get around to making the Austinpussy movie-within-a-movie instead. Let Ryan Murphy in on the action and you might get a hit FX miniseries out of that turnip.


    • Where Does A Planned ‘Austin Powers’ Sequel Fit In The Modern Movie Landscape?


      • Why we never got to see Austin Powers 4

        Mike Myers had a run of bad luck

        Austin Powers began as the brainchild of comedian Mike Myers. An alumni of Saturday Night Live, Myers began work on the first Austin Powers movie at the behest of his then-wife Robin. In short order, however, the project became a labor of love. Myers had grown up watching British spy thrillers with his father, and Austin Powers became a sort of tribute to their relationship.

        In short, a fourth Austin Powers couldn’t happen without Mike Myers, and the past few years have had their share of trouble for the comedian. Myers divorced his wife in 2005, whom he’d often referred to as his “muse.” He’s also suffered some career woes as well. Apart from the animated Shrek series, in which Myers voices the title character, his post-Goldmember big-screen outings have proved more embarrassing than exciting. As the title character in The Cat in the Hat, Myers earned negative reviews, and after spending several years away from live-action work, anyway, he returned with 2008’s The Love Guru—which bombed at the box office and earned some of the worst reviews of his career.


  24. Mike Myers, Eddie Murphy, John Travolta and Jim Carrey on WatchMojo’s Top 10 Actors That Have Lost Their Mojo


  25. Mike Myers Isn’t Opposed To The Idea Of It Once Again Being Party Time For ‘Wayne’s World’


  26. Amy Hill on being Hollywood’s ”go-to Asian” and why working with Mike Myers was hell

    AVC: Since I’ve been picking projects you really liked, what’s a project that you didn’t like working on? Or that you at least found to be really challenging?

    AH: The Cat In The Hat.

    The Cat In The Hat was with Mike Myers who, if I saw him today, I don’t think he’d even remember who I was. He is like a little hermit. He would come in and, I guess, be in hair and makeup. We would wait. I’d be there at the crack of dawn, waiting. We would all be waiting for Mike Myers to come.

    He had his handlers dress his trailer, and his area was all covered with tenting because he didn’t want anybody seeing him. It was so weird. It was just the worst. It was like I was there forever, and my daughter was 2 and a half and I felt like I was missing her first everything. I was miserable. I just thought it was really rude for him to not take all of us into consideration.

    And the director [Bo Welch] was really lovely, but it was his first time directing, and he deferred to Mike so much. Mike would do a take, and then he’d go over and look at the monitors, and then he’d talk to the director and then we’d do another take.

    It was just a horrible, nightmarish experience. I don’t think he got to know anybody. He’d just be with his people and walk away. People would come and then he’d stand there. There was a guy who held his chocolates in a little Tupperware. Whenever he needed chocolate, he’d come running over and give him a chocolate. That’s what divas are like, I guess. Or people who need therapy.



      It’s a controversial opinion, but I think “The Grinch” works, by and large. There are weak spots, sure, and it’s a movie that didn’t necessarily NEED to be made, but it runs on a similar principle to “National Lampoon’s Christmas:” take something immediately recognizable and nostalgic, and leave big space for your comedic genius of a lead to go wild within that framework. In terms of his “big comic creations,” I believe Carrey’s Grinch was his last success.

      Myers, unlike Carrey, is a character comedian but not a deeply creative improviser. He can create a character but not run wild with it. As such, “make Myers the Cat and let him go nuts for ninety minutes” is a recipe for disaster, not success. Even if you dropped an immensely talented, undisputedly legendary character comedian into the role, you wouldn’t have gotten much better results. (Imagine, for instance, a Peter Sellers Cat in the Hat, or a Hugh Laurie one. Still a disaster.)



        Myers’ story wouldn’t be nearly as interesting if he were truly a no-talent hack. But the reality is that there was a time period when everything he touched turned to gold, and a lot of that success had to do with his personal creative input. Austin Powers wasn’t a big phenomenon because the studio pumped it up–it was big because after a modest opening, it was big on VHS and DVD, and people quoted its jokes for years afterwards. The irony is that not only the specific jokes but the entire comedic sensibility that Myers brought to the film are now passé specifically because it was so popular for so long.

        What’s interesting about this is that Myers does have a specific gap in his talent set that has hurt him: an inability to innovate. Comedy is quite similar to music in this way–most bands get tired of their old sound and change it completely (Bob Dylan is a classic example), which initially causes a lot of dissatisfaction but is ultimately necessary to keep an artist from stagnating. But there are some bands unable or unwilling to change . . . which doesn’t mean they are a bad band per se, but anything that doesn’t change can’t grow. Coldplay is pretty decent example of a band that has talent, but basically sounds the same as they did a decade ago.

        Anyway, I think Myers is stuck in a similar sort of trap: the thing that hurt him most was that he did not grow dissatisfied with his own work, and couldn’t understand when everyone moved on when he didn’t change.


        • Mike Myers always struck me as essentially, a great idea man who doesn’t know or is to stubborn to compromise or ask for help from others. He simply isn’t flexible enough of a performer since he’s too much of a controlling perfectionist. In his world, it’s pretty much “his way or the highway”! And if he doesn’t get his way, then he’ll act like a petulant, spoiled brat. Hence, why Mike prefers to “shadow direct” instead of trusting (or being more willing to collaborate/listen) the director.


  27. Why Mike Myers doesn’t get many movie offers anymore

    Mike Myers made the jump from Saturday Night Live to the big screen with two adaptations of his silly SNL skit Wayne’s World, and kept hitting paydirt with his James Bond parody character Austin Powers in three wildly successful movies. He also served as the unforgettable voice of the green ogre Shrek for four films and a series of spinoffs—but then, as if Myers himself had received the “happily ever after” promised to his ogre incarnation, he seemed to drop off the face of the earth…or at least the face of Hollywood.

    What happened to turn an unstoppable comedy juggernaut into a virtual recluse? Here’s why Mike Myers doesn’t get many movies offers anymore.


    • The Real Reason Hollywood Stopped Casting Mike Myers


      • Mike Myers is one of those type of actors that I think got lost in the age of the internet. Like he could make a killing doing skits and uploading 5-10 min videos. Dana Carvey was on the Comedy Bang Bang podcast a while back and he mentioned a few times how interested he was in the range of new platforms for comedians to get their material out there, and how he wasn’t sure how to enter the field now.


  28. ‘We’ll take your f***ing house’: Sherry Lansing threatened to bankrupt ‘shaken’ Mike Myers after learning Wayne’s World 2 script was based on a 1949 film


    • ‘Wayne’s World 2’ Was Completely Rewritten At The Last Minute, Here’s Why

      As far as comedy sequels go, Wayne’s World 2 is among the better ones. Even though it’s not nearly as good as the original Wayne’s World, it’s still much better than all but three of the other movies based on Saturday Night Live characters, and even ended up towards the top of our list ranking all of them. But the sequel that fans enjoyed would have been drastically different if Mike Myers had been allowed to use the idea he originally had. Instead, the Saturday Night Live star was forced to rewrite the script at the last minute. So why was Wayne’s World 2 rewritten? Find out below

      The Hollywood Reporter pulled a story from a new biography by Stephen Galloway about former, legendary studio boss Sherry Lansing, who was once the chairman at Paramount Pictures, which distributed both Wayne’s World and its sequel. In the book, the original idea for Wayne’s World 2 was explained by Saturday Night Live creator and showrunner Lorne Michaels, “Mike had always wanted to do Passport to Pimlico as the basis of Wayne’s World.” If you’re unfamiliar with the 1949 British comedy, here’s the synopsis for Passport to Pimlico:

      “The accidental explosion of an undetonated German bomb left over from World War II unearths a long-buried cellar containing both fabulous riches and a previously unknown royal charter from King Edward IV that cedes the surrounding land to the last Duke of Burgundy. Since the charter has never been rescinded, the London district of Pimlico is now legally the long-lost Duchy of Burgundy, and therefore no longer subject to British law, including postwar rationing and pub closure hours.”

      Now I’m not sure how Mike Myers would have adapted that into the style of Wayne’s World, but maybe there was a story there where Wayne discovers his house isn’t within the jurisdiction of United States law or something like that. Or maybe the concert plot from Wayne’s World 2 was still in play and they decided to throw it in an area that was free of the usual rules for music festivals.

      Wayne’s World 2 Rewritten

      Why Did the Original Wayne’s World Get Scrapped?
      Lorne Michaels went on to explain that Mike wrote the script with his original idea intact, “I think he believed the studio understood that, and I think he even believed they had bought the rights to the other movie so that he was free to use it.” However, that was not the case, and Myers was not made aware of this until after the script was done with only a few weeks before shooting was supposed to begin.

      If Paramount Pictures decided to make this movie based on Passport to Pimlico without having the rights to that movie, the rights holders could have filed a lawsuit to stop the film from being released. Paramount could have just gotten the rights to the movie, but with such a short window of time until production started, there was nowhere near enough time to negotiate a deal. So Mike Myers had to rewrite the script, and he had quite the motivation because Sherry Lansing really laid into him at the time.

      In the book, one person who was sitting on in the meeting where this revelation was made recalls Lansing threatening Myers in the way that you think only ever happens in movies or Entourage. This person explained, “[Lansing] said, ‘How dare you? How dare you put us in this position?’ She turned to Mike and said, ‘We’ll sue you. We’ll take your f—ing house. You won’t even own a f—ing home.’”

      Apparently Myers was so scared at this point that he was curled up in the fetal position on Lansing’s couch, clearly devastated by this news and the prospect of trying to fix the issues. But Lansing gave him the perfect pep talk when she said, “If I were you, Mike, I’d go to Lorne’s office right now and stay there until you come up with a new script. We’ll slide food under the door.”

      As we know, Mike Myers rewrote the script, and the result was a solid comedy sequel. Myers was even able to incorporate some British humor into it by having Ralph Brown play a legendary British roadie named Del Preston, using stand-ins to make it look like Wayne and Garth went to London and hit some of the tourist hot spots. So Myers got his mega happy ending for Wayne’s World 2, but now I want to read that original script.


  29. ABC reboots The Gong Show with surprising host

    ABC is rebooting a popular 1970s game show, and they have found a pretty surprising host. According to The Hollywood Reporter, Saturday Night Live alum Mike Myers will take the lead on the project, but he will remain in character as “Tommy Maitland” the entire time.

    This means that the upcoming reboot won’t include Myers’ name anywhere: not on any promotional materials, anywhere in the show, or even on his official list of credits. In fact, ABC wouldn’t even confirm that Myers– pictured in costume as Maitland at the top of this story– was actually the hidden host. Matiland’s fictional past credits include a number of spaghetti westerns in Italy which gave him a cult following, a few James Bond knock-off films (a la Myers’ Austin Powers franchise), and an Australian game show called Dingos Got the Baby. Maitland, who can be found on social media with the username @MrTommyMaitland, will step into the role previously filled by the late Chuck Barris, who hosted the talent show from 1976 to 1980.

    Maitland will have a number of celebrity guests backing him up, including Will Arnett, whose production company is behind the reboot, Zach Galifianakis, Alison Brie, Andy Samberg, Elizabeth Banks, Joel McHale, Dana Carvey, Will Forte, Jack Black and Anthony Anderson, among others. The celebs will serve as judges who give comments and “gong” the contestants who have especially awful acts.

    “I’ve been a huge fan of Tommy since I first saw his stand-up in the U.K. while traveling as a teenager,” Arnett said in a statement. “He was so funny and original. I had the good fortune to cross paths with Tommy a few years ago and ever since we’ve talked about working together. I tried for years to come up with a vehicle that was suitable to expose his immense talent on a bigger stage, and The Gong Show is the perfect fit.”

    Maitland, in an in-character interview with THR, said he was joining the show after a few years in retirement due to some money problems back in England. The host says he already has some catch phrase ideas, including him saying, “Who’s a cheeky monkey?” and the audience responding “You are.” He then replies, “No, you’re a cheeky monkey, and that’s why I love you.” He says another catchphrase is a variation on the saying, “You’ve got no proof.”

    As far as how he plans to make the show different from Barris’ version, Maitland says he wants the acts to “speak for themselves.” “While it’s true many of them have willingly crossed the line of dignity to come onto the stage, you do have to salute their bravery,” he said. “I’m hoping this will be a place for people who don’t normally have a venue to do things like play the bagpipes with their nose or do anything with a unicycle.”

    The Gong Show will premiere on June 22. In the meantime, see why Myers hasn’t had a hit movie in years.


    • How Does Mike Myers Still Have A Career? – Page 2

      Myers started to be a bit of a hack as early as Austin Powers 2. Being described as comedically cautious is the best description.

      I truly believe if you had to pinpoint a time when his career went off track it was when Kanye went off script during the telethon. You could see Myers couldn’t think on his feet at that moment. He can’t improvise. And he was the center of a lot of jokes.


      • Why most studios don’t want to work with these a-list stars

        By Sigal Charlie Stark, Apr 9, 2017

        Mike Myers

        We could not believe that funny man Mike Myers is actually super controlling behind the scenes, making filming with him harder than it looks. Myers is known to those in Hollywood as a total perfectionist who doesn’t let anything go by without his approval on it. Cast and crew of his films know that he is hard to handle, which is why after his hit Austin Powers films, his roles were mostly voice over ones.


    • @KenTucker says the revamped #GongShow has its downfalls, but it’s still more fun to watch than anything else this summer


    • The about Mike Myers is that not only did he gain a reputation as a bit of a control freak, but also weirdly method. There for instance, have been stories from cast and crew of “Austin Powers” that if he was playing a character that day, he was the character that day. So for example, you’d be stuck with Fat Bastard all day long on set.

      It’s okay to be that weird when you’re making hits but when you start bombing out, Hollywood loses patience fast.


    • Mike Myers On ‘The Gong Show’: Brilliant Or Desperate?

      Last night’s premiere features Zach Galifinakis, Ken Jeong, and Arnett as the celebrity guest judges, and Maitland leaves us with no shortage of one-liners and quirky host asides. Much like the 1970s show, the acts are completely bizarre – the banana couple above offers a small hint of exactly the kind of stuff you’ll be privy to as a viewer – but admittedly, the show’s a lot of fun. The judges are great (and genuinely seem to be having a good time), the contestants are wacky, and the overall vibe is pretty fresh compared to many of the other talents shows currently on television. It’s nice to have a little freedom from the sob stories and high stakes of so many other reality competitions out there. At this point, I’d much rather watch a jump-roping aficionado than another season of American Idol. The show is fine without a ton of bells and whistles. So why hide Myers behind rubbery prosthetics and a relatively middling character?

      The initial gag of Tommy Maitland seems very on-brand for Myers – the actor has never shied away from a ridiculous getup before. The novelty of Maitland’s presence on The Gong Show, however, becomes tired quickly. With such a great lineup of judges, why not just let Myers host the show as his kooky real-life persona? He’s got enough charisma to do the job, and he’d probably be free to do a little more without all of that latex on his face.

      From a publicity perspective, it’s not dumb. Pitching The Gong Show to an audience probably largely unaware of its existence or premise needed some kind of intriguing component or stunt to get people talking, and guess what? They achieved it with Maitland. But the middling result of his actually hosting the show – which evidently is a repetitive caricature who echoes phrases like “cheeky monkey” – doesn’t offer the laughs that ABC probably planned on. If they’d just announced that Mike Myers – yes, that Mike Myers, the Austin Powers/Wayne Campbell you know and love – would be hosting The Gong Show, they probably would have received just as much attention, and Myers might have a little more unrestrained fun with the slew of top-notch judges. While capturing the eccentric, off-beat quality of the original show may be important, Tommy Maitland evidently stands in the way of this endeavor rather than assisting it.

      So what’s the verdict? Brilliant stunt, desperate execution. Tommy Maitland was a good buzz-starter, but Myers is perfectly capable of carrying The Gong Show home on his own – he’s enough of a legend at this point to create his own shtick without the help of a hokey British alias.


  30. Austin Powers Had to Edit Out Mike Myers’s Butt Cheek to Dodge an R Rating

    By Jackson McHenry

    Nowadays, a raunchy adult comedy like Austin Powers would wear its R rating with pride, but back in 1997, the film needed to aim for PG-13 — all the better to ensure DVD sales, something that still mattered back then. In The Hollywood Reporter’s 20-year anniversary look back at the film, director Jay Roach reveals that, as you might expect, the film initially got an R rating from the MPAA and had to negotiate and make cuts to get the rating lower. “The nudity blocking was something the MPAA wanted to be sure we didn’t go too far with: the cheeky phallic references, like Elizabeth [Hurley] biting the sausage and holding the melons up,” he said. “But they were all pretty innocent body-shape jokes.” The real sticking point, Roach explained, was Mike Myers’s butt: “The only thing they asked us to do in the final cut, which was kind of surprising to me, was they thought there was too much butt-cheek on Mike when he got thawed out, so I went for a slightly more profile version.” Now, our feelings about getting an eyeful of Mike Myers’s butt specifically may vary, but we cannot deny the fact that censorship is alive and well in America and it is depriving us of man butts!


  31. 15 Actors You Didn’t Know Humiliated Their Fans


    Funnyman Mike Myers is another comedian who makes the list with an apparent disdain for getting free drinks. According to a particular fan’s account – he spotted Myers at a bar in New York City, drinking a beer and watching a soccer game on the television.

    Being a big fan, the Redditor decided to approach the Saturday Night Live star, keeping in mind to not come off as creepy or intrusive. Upon coming up to Myers, he told the actor how much he admired his work, before offering to get him a free drink just before paying him and his friend’s tab. Myers’ showed his appreciation by responding, “I can afford my own drinks, a**hole, save your money for my next movie.”

    Shocked and speechless, the fan and his buddy took off without saying another word.


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